The Harmonic Equalizer Windows Application is a real-time audio equalizer, which recognizes the musical note being played at any given time and isolates the harmonic tones of the note. The Harmonic EQ is certified by the Microsoft Windows Store and is available to download from the store as well as here on this website
The Harmonic EQ is available as a download for just one payment. No sign-up or subscription required. All future updates included!
The practical way to learn how to name chords is to begin with a set of base chords and build onto them, naming each variation until you build a vocabulary. Eventually, you can understand where chord names come from and use your knowledge to name any chord. You can also compare chords you see with those from the known set of base chords and variations.
In order to arrive at a good set of base chords, we will start with the dominant triad. In the key of C, this is G (or “G Major”, the major triad with root G, third B, and fifth D). As we build the set of base chords, you will see why we used the dominant. In the key of C, we won’t have to add any accidentals or think about sharps or flats in the base chords.
The second chord in our series of base chords in the G7. This is the G chord with an added flat seventh. In the context of chord naming, the 7 means ♭7. In the context of intervals in composition, “7th” would mean major seventh but in chord naming, this means ♭7 or a minor 7th interval from the root. This may not make a lot of sense but is just the convention that you have to remember.
The next chords in our series are build on the 7th and are the G9, G11, and G13, each one built on the previous. So, for example, the G13 contains the triad, the ♭7, 9th, 11th, and 13th.
You have probably realised already that the 9th is equivalent to a 2nd interval, the 11th is equivalent to a perfect 4th, and the 13th is equivalent to a 6th.
To notate a chord with a major 7th, the term, “maj” is used. For example, Gmaj7. The term, “maj” applies to the 7th. For example, “Gmaj9” means a 9th chords (like in our base collection) with a major 7th instead of a minor 7th. Sometimes, a triangle, “Δ “ is used in place of “maj”
The term “min” or “m” always refers to the third. For example, “Gm11” is an 11th chord with a minor third instead of a major third. Major and minor can be combined, since they refer to different notes. For example, “GminMaj11” is a G11 chord with the third lowered to a minor and the flat 7th raised to make a major 7th.
Augmented chords are denoted by “aug” or “+” or (#5). This means the fifth of the chord has been raised to a #5th.
For example, G7(#5) = Gaug7 = G+7
Written as, for example, G7(♭5) or Gm11(♭5).
There is a special example of the flat five, which is the minor 7th flat 5, “Gm7(♭5)”. Due to its popularity, it has the name, “half diminished” and symbol, ø. For example, Gmø
Can also be denoted as a small raised circle, °
Diminished chords have the third, fifth and seventh (if present) flattened. That means the already flattened 7th is flattened further.
The example of G13 here shows how the 13th is the same note as a diminished flat 7 (E). So a 13th chord cannot be truly changed into a diminished chord in the same way as the others, since the E is already present in the G13 chord. It is really a Gdim11, as it contains the same notes.
Suspended (“sus”) means that the third is to be removed. For example, “sus4” means remove the third and replace it with a 4th and “sus2” means remove the third and replace with a 2nd. Sometimes the third is removed but not replaced with anything and denoted by (no 3rd).
Add the note if it isn’t already there and change the note if it is already there.
(♭ 9) – same note as ♭ 2
(#9) – same note as #2 or minor 3rd
(#11) – same note as #4
(♭ 6 )
(♭ 13) – same note as ♭ 6
(add 9)
(add “anything”)
Usually used when a note has been effectively skipped (often the 7th). Sometimes the word “add” is left out. For example, G(9) can be seen as G9 without the 7th.
Chords are named as “sixth chords” when they contain a 6th and not a 7th. They are not written with brackets or “add”. For example, “G6” or “Gm6”. When an additional note is added to the 6th chord (such as a 9th), it may be written as, for example, G6/9.
This is done with a slash symbol then state the actual bass note (as oppose to the interval). For example. Gmaj7(#11) / F#
This does not give you the exact chord. When you see “7alt”, you will need to listen to a recording of the piece to find out the chord. It refers to one of the base chords mentioned earlier (dominant chords) with an alteration. The “7” tells you that the chord contains a flat 7th. It will also contain a root note and a third.
The third in an augmented chord is a major third by definition of the augmented chord. A minor chord with an augmented fifth could be called as “Gm(#5)” but it is most likely to be spelled as a major chord. For the example of Gm, the raised fifth would create a D# major triad (in first inversion).
The third is already a minor third.
There is no 3rd in a suspended chord.
The most important factor to remember about chord positions is that only the lowest note matters to determine the inversion. For example, the chord is said to be in root position if the root note is the lowest (the bass note). It does not mater where the others appear above it. If the third of the triad is the bass note, it is in first inversion. If the fifth is the bass note, it is a second inversion.
G63 = first inversion
G64 = second inversion
These confusing notations are still used sometimes. The 63 or 64 refers to the intervals resulting from the inversion. Fans of Figured Bass notation will enjoy using these, as the principle is the same. When looking at figure bass numbers under a score, you will see that the numbers correspond to intervals in relation to the bass note (with a few assumptions). An easier notation would be to simply use the backslash method described earlier and call the first inversion, “G / B” and the second inversion, “G / D”.
Just about any chord can be named in isolation using the rules discussed. However, many times a chord is given a particular name in context. Here are some examples:
As mentioned earlier, augmented chords are those with the 5th augmented (raised). However, due to inconsistency in music notation, and augmented sixth chord is something different altogether. These three augmented sixth chords contain a root plus a note one augmented 6th above the root, as well as another note, one augmented sixth above that. Only, they tend to exist in a first inversion, where the root will be the middle note. The Italian contains only those three notes.
The French is the Italian chord with an added second (which is an augmented fourth from the lowest note).
The German is the Italian chord with an added minor third (which is a perfect fifth from the lowest note)
As you can see from the chords below, these augmented sixth chords could be given alternative names, according to the rules described earlier. In particular, the German chord is the same as a 7th chord (A♭ 7). The name given will depend on the context, the key, and how the chord resolves. Usually, the purpose of the augmented sixth chords is to resolve to the dominant (V) chord. In some cases it will resolve via a second inversion tonic (I) chord, especially the German because a progression to the dominant can result in parallel fifths (which is generally avoided).
Sometimes denoted as “N6”. Once again, the “sixth” in the name of the Neapolitan is from the tradition of naming the first inversion by the 6th interval contained. The chord is actually made up of the notes of a normal major chord (in first inversion) but given the name “Neapolitan” because of the context.
Usually used in a minor key, the sub-dominant (IV) chord is altered whereby the fifth is raised by one semitone (the fifth is replaced)(#5). For example, in the key of Am, the Dm is altered from D, F, A to D, F, B♭. These are the notes of a B♭ major chord with the D as the bass, so the Neapolitan can also be called by ♭II63 (where the “63” means first inversion) or B♭/D.
We all hear harmonics in music, but many musicians avoid the study of anything that could prove that their technical “left brain” mind actually works. I’m here to tell you not to worry, you can still be an artist while learning some facts about the components of sound. Harmonics are also referred to as harmonic overtones or the overtone series.
A tonal sound wave is made up of its fundamental frequency and harmonic frequencies. The frequency (Hz) being the number of vibrations per second. The harmonic frequencies are multiplies of the fundamental. This is because vibrating objects always create harmonics, as well as their fundamental frequency of vibration. A pure sine wave with only one frequency can exist in electronics, however, when it is sent to a loudspeaker, the speaker will vibrate with harmonics. Below is the example of a vibration of 110Hz (A2) and harmonics 2 to 12:
110 | 220 | 330 | 440 | 550 | 660 | 770 | 880 | 990 | 1100 | 1210 | 1320
The fourth harmonic is isolated in the Harmonic Equalizer. The mix between the harmonic and the original signal is adjusted as this sample plays:
For many instruments, yes, they are. However, some have an element of inharmonicity, meaning that there is a deviation in the harmonics, away from the exact multiple of the fundamental. The classic example being the piano. The stiffness of piano wire (and hammer motion), results in inharmonicity, which is why pianos are more difficult to tune than some other instruments. Each key must be tuned so that it resonates with the harmonics of lower keys. For example, C5 must be tuned to the second harmonic of middle C (C4), even if this varies from the standard frequency of C5 (523.25Hz).
The foremost interest in harmonics for most people is their effect on timbre. This is because it is very apparent without paying direct attention to them. For example, a clarinet sounds different to a trumpet, in part, because they have different harmonic spectra. The relative levels of their harmonics are different. The timbre of an instrument comes from the harmonic levels, as well as noise components. If you can manipulate the harmonics, you can manipulate the timbre of the instrument.
Here are where the intervals lie, using C1 as an example:
So we can think of a single note as a chord with these intervals within the audio. If you listen carefully to your instrument, you will be able to hear some of these notes as overtones. You will find that your particular instrument produces certain harmonics that can be heard more easily. You will also realize that certain harmonics and combinations are naturally easier to hear due to the frequency response of your ear. The response and resonant frequencies are the same for everyone with normal hearing.
The 5th harmonic of E2 (major third with a deviation of -14 cents)
The 7th harmonic (minor seventh with a deviation of -31 cents)
The 11th Harmonic (diminished 5th with a deviation of -49 cents)
Now that we know the intervals present in harmonics, we can think about composing music using these harmonic note frequencies. Audio filters can be used to bring out these harmonics.
Some harmonics lie close to (or exactly on) notes in equal temperament. The deviation, in cents, is shown in the diagram above. If your aim is to create a composition that is consonant and very tonal, the choice of harmonics would be the 2nd, 3rd, 4th, 6th, 8th, 9th, 12th, 16th, 17th, 18th, 19th and other higher ones. Some of these being octaves. If you are going for something more unusual and atonal, you will include the 5th, 7th,10th, 11th, 13th, 14th, 15th, and 20th. Particularly, the 7th, 11th, 13th, and 14th, with a deviation of 31, 49, 41, and 31 cents respectively.
Interesting compositions can be made using harmonics with deviations from equal temperament because we can employ notes that sound “off” in some ways. However, we know these frequencies do belong in the audio and would always be present. Since there is a wide range of frequencies available in the harmonics, we can create counterpoint between higher harmonics of lower notes and lower harmonics of higher notes.
Experiment with composing using harmonics and see what sounds you can create!